Hence the value of literature, which Coetzee does not mention in this essay, but whose importance he indirectly signals as he suggests that the Erasmian (non)position of nonrivalry and madness can only be a position of fiction, a position of play.

Gunter Vogler emphasizes how little we know of the relationship between Muntzer and the Erasmian Catholic Georg Witzel; and Marion Dammaschke provides a bibliography of Brauer's editions, books, and articles on Muntzer, numbering almost seventy items and going back to 1969.

The polarization of Christendom between Rome on the one hand and the Protestant churches on the other rendered the Erasmian ideal of reform impossible--although a plausible case can be made that the Erasmian ideal finally triumphed at the Catholic Church's Second Vatican Council (1962-1965).

In challenging and careful close readings, Kearney illustrates this tension in the works of Desiderius Erasmus, William Tyndale, and Thomas More, reaching the surprising conclusion that "the Lutheran Tyndale adopts an Erasmian optimism about the ability of writing to transmit God's word and will, while Erasmus's friend and colleague More adopts a Lutheran pessimism about the ability of written language to transcend its fallen condition" (84).

Now, copia is a key concept of Erasmian rhetoric, which, as Rhodes has shown through various examples, informed both Shakespeare's works and their reception, while "circumstances," "passion," and "character" are all technical terms in eighteenth-century rhetoric, based on Quintilian's discussions of how language can move its listeners.

Once Shylock is alienated as the callous enemy, the play appears to tender an Erasmian middle ground where an imagined universal Christianity--one inclusive of Marian power--is of value to Portia's Christian audience.

have little significance' is typical, as is Patricia Thomson's claim that the English translations of Plutarch's work 'make a restricted, down-to-earth--one might almost say provincial--contribution to the more ambitious design of Erasmian didacticism'.

To say the result is lively is an understatement; contributors remark on literary responses to Cervantes's work, interpretations in the German Romantic tradition, perceptions of fantasy and reality, an art exhibition assembled for the conference, creative collaboration on the musical, acting the role of Don Quixote, concert music, the Erasmian paradigm, religion, Cervantes's object of affection and other women, and claims that Bacon wrote Don Quixote.

The key images Waddington studies in his richly illustrated book are the Priapus, the Erasmian author portrait, the author-as-prophet portrait, and many variations of the satyr or the silenus (a philosophical satyr), including the phallic-satyr head.

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